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2.
Faceless machines: early recognition media and entangled bodies : lecture at the "Relatifs" lecture series, Kepler Salon, Johannes Kepler Universität Linz, Österreich, 16. 1. 2024
Eszter Polónyi, 2024, invited lecture at foreign university

Abstract: Eszter Polonyis Vortrag behandelt frühe Systeme automatisierter Identitätserkennung. Einen Fokus bilden Experimente zur Stimmerkennung, wie sie in der Mitte des 20. Jahrhunderts von US-amerikanische Telekommunikationsunternehmen unternommen wurden. Sie geht dabei auch den Verbindungen zur Arbeit mit „noise“ von Medienkünstler*innen nach, darunter Tony Conrad, John Cage und Kurt Kren.
Keywords: media studies, surveillance studies, art history, critical data studies, avant-garde and experimental art
Published in RUNG: 12.02.2024; Views: 230; Downloads: 2
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3.
An archaeology of photographic identification : lecture at the Society for Cinema & Media Studies Conference, Denver, Colorado, 13. 4. 2023
Eszter Polónyi, 2023, unpublished conference contribution

Abstract: This project returns to an early moment in the history of photographic IDs to better understand the current entrapment of our identities within what are by now massive infrastructures of automatized, unregulated and largely unauthorized identity extraction.
Keywords: media studies, surveillance studies, history of art, history of visual culture, cultural studies
Published in RUNG: 12.02.2024; Views: 217; Downloads: 2
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4.
Sustainable digital preservation of the new media art
Aleš Vaupotič, Eszter Polónyi, Narvika Bovcon, Jaka Železnikar, 2023, published scientific conference contribution abstract

Keywords: media studies, art history, new media art, archival studies, restoration studies, museum studies
Published in RUNG: 12.02.2024; Views: 226; Downloads: 4
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5.
Mobility media : an archaeology of the photographic ID document
Eszter Polónyi, 2023, published scientific conference contribution

Abstract: Mobility, in the sense of freedom of persons choosing to move or reside in a state in which they have no prior citizenship, was one of the four original “freedoms” defined in the treaty that ratified European Union member states in 1957.1 In the past decade, this particular freedom, the freedom of movement, appears to have become significantly eroded. Mobility in the sense of migration, that is, mobility of persons for reasons of residency or employment, has become a point of contention among member states that it has divided more than unified, with measures affecting immigrants, refugees and asylum seekers featuring at the core of recent electoral agendas. Certain member states’ deterrence of the mobility of migrants from outside the EU has resulted in the return to protocols and practices of controlling movement into and out of sovereign territories, among the most conspicuous of which has been the re-establishment of a – by now largely defunct – network of nation-state borders. And while the reappearance of new walls, barricades and barbed wiring alongside certain nation-state borders since the mid-2010s have made headlines, there have been other measures with less press and physical visibility that have been set in place to manage and enforce mobility.2 The photographic identity document, meaning a document of state-issued identity certification, has become one such mobility management measure.
Keywords: cultural history, migration studies, history of art, history of visual culture, media archaeology, media studies
Published in RUNG: 12.02.2024; Views: 218; Downloads: 0
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6.
Biodiversity communication through art in the form of digital games and the communication potential of related online communities : diploma thesis
Tijana Mijušković, 2023, undergraduate thesis

Abstract: Biodiversity communication is becoming increasingly important in today’s age, as climate change and other factors contribute to the rapid decline of species and ecosystems across the globe. Art is growing in popularity as a tool of reaching people regarding environmental causes, as they convey the emotional, human side of this endeavor in a way that typical science communication isn’t able to. Digital games, arguably among the most persuasive art forms and now widely accessible, are well suited to educating as well as emotionally influencing their players. Online communities frequently form around games, providing a platform for discussion and potentially increasing the games’ total potential for biodiversity communication. In this thesis, the content of eight games from Steam’s list of top-rated games tagged with ‘Nature’ was analyzed, and seven online communities related to these games on the Discord and Reddit social media platforms were surveyed. There was found to be a number of different approaches among the eight games towards educating players about biodiversity and/or its conservation, and the survey of communities showed care towards and interest in biodiversity-related discussion and conservation gaming itself, as well as the fact that games and related discussion in online communities has potential to educate players and positively influence their interest in biodiversity topics. Online game-related communities may offer an additional avenue of approaching game players about biodiversity for science communicators, researchers, and game developers alike.
Keywords: biodiversity communication, biodiversity education, digital games, online communities, online discussion, social media platforms, video games
Published in RUNG: 11.12.2023; Views: 408; Downloads: 9
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7.
An art+sci approach toward a curriculum of bordering
Peter Purg, Kristina Pranjić, 2023, published scientific conference contribution abstract

Keywords: social imagination, media materiality, research methodology, curriculum, border
Published in RUNG: 28.09.2023; Views: 529; Downloads: 3
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8.
Crossing Over from Digital Practices to Media Arts and into Social Innovation
Kristina Pranjić, Peter Purg, 2022, published professional conference contribution

Keywords: Media Arts, Education, Social Innovation
Published in RUNG: 06.03.2023; Views: 893; Downloads: 0
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9.
Between graphic arrangement and film: Thom Andersen’s Flicker
Polonyi Eszter, 2021, published scientific conference contribution abstract

Abstract: When the California-based filmmaker Thom Andersen made his documentary Eadweard Muybridge, Zoopraxographer in 1973-4, he recovered an aspect of Muybridge’s work that most viewers had not seen before. Projected on the screen at the top of the theater, these iconic nineteenth-century chronophotographs were allegedly first seen in movement. Viewers could watch as his half-clad and nude subjects lifted water buckets, walked up and down stairs, ran, stood, heaved, threw, jumped, crawled and kicked. Throughout the film, Andersen shows each action multiple times, so that an athlete, for instance, leaps his hurdle firstly slowly, then at increasing speeds. Almost none of the sequences appear in the tempo in which they might have taken place in front of the camera. And, despite this being omitted from reviews, many of the passages drop to frame rates below the minimum necessary to sustain the illusion of motion, dissolving Muybridge’s images in a pulsing, jagged flicker. If Andersen’s recovery of Muybridge’s image sequences continue to appear spectacular, this is because watching the motion studies suddenly lurch into moving images proves just how little their “movement” can be explained by a history of the “movies.” This paper examines Andersen’s film as a way into an alternate genealogy of the moving image provided through the phenomenon of the flicker. As has become increasingly clear with the publication of a recent anthology of his critical writings (Visible Press, 2017), Andersen was part of a generation of North American filmmaker whose practice and writing resonated with the academic critique of the film apparatus as it began to emerge from France in the 1960s and 1970s. The fixed temporal parameters of film consumption constituted a recurring consideration for Andersen, for whom “clocked” time literalized the destructiveness of capitalism’s “eternal present” (review of Christian Marclay’s The Clock, 2011). His recovery of Muybridge, for which a frame-by-frame projector allows Andersen to reconstruct what were this pre-cinematic recording systems’s famously arbitrary time intervals, is read within the context of such a critique but also of an emerging tradition of expanded cinema practice. To this effect, comparison is made between Andersen’s process and the efforts of Tony Conrad in the 1960s to research the frequencies at which human vision registers photocelluloid film’s flicker. Conrad’s ability to produce the flicker is ensured not by modification of the projector’s microtemporalities, which would have restricted the number of projectors on which he could show his flicker film, but through alterations at the level of the photocelluloid. Both Andersen and Conrad are shown to turn the basic apparatus into a rhythmic instrument by accessing its frame rates through what I argue is a graphic rather than filmic method.
Keywords: History of American cinema, avant-garde art, media archaeology, Eadweard Muybridge, Thom Andersen
Published in RUNG: 13.01.2023; Views: 882; Downloads: 0
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10.
Principles of Postgrowth in Avant-garde and New Media Art
Kristina Pranjić, Peter Purg, unpublished conference contribution

Keywords: Avant-garde art, new media art, degrowth, post-growth
Published in RUNG: 03.11.2022; Views: 839; Downloads: 0
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