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Abstract: Observing the developments and intersections between music, graphics, video, code and club culture in the music scene around the year 2010, primarily based in England, a new cultural movement known as ”Algorave” has emerged, reshaping the boundaries of new artistic expression. While the practices of live and creative coding had been present on the global stage for some time, the “Algorave” scene emerges as a unique blend of these artistic directions, combining various elements and offering a distinctive sound-visual artistic expression. Unlike traditional music performances, artists of this movement openly share their live coding processes with the audience, guiding them through the entire process of the performance. By utilizing live coding as the primary artistic tool and integrating it with artificial intelligence, the work Dreamer demonstrates a fusion of these two approaches. It visually explores dreams using images generated by AI technology. These images are then manipulated through live coding techniques, creating a visual narrative that is accompanied by ambient-electronic sounds. The sound complements the visual elements, achieved through the use of various synthesizers, samplings and granular synthesis, a technique that fragments sound into small grains to create complex sound textures. Beyond its practical execution, Dreamer addresses dreams as something unknown and undisclosed. It raises the question of whether dreams can be considered insights into our parallel lives, or are they merely products of our imagination? Should we explore them rather than just observe them? Based on these questions, the work examines dreams through programming and technology, seeking new possibilities for artistic expression.
Keywords: code, sound, algorithm, visual art, algorave, technology, master's thesis
Published in RUNG: 03.10.2024; Views: 1015; Downloads: 7
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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: 2230; Downloads: 0
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Abstract: In an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Keywords: History of Science, History of Visual Culture, History of Art, History of Photography, Migration
Published in RUNG: 13.01.2023; Views: 2211; Downloads: 0
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