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In 1895, viewers of the Lumière brothers' 50-second film L’Arrivée d’un train are said to have stampeded out of the theater when a train raced toward them on the projection screen. Unaccustomed to the cinematic experience, they couldn't help but take the image of the train for the real thing. The Lumière Effect, named after this supposed occurrence, describes the phenomenon of mistaking representation for reality. In this essay, the poet and artist manuel arturo abreu compares this (Western) myth of image-reality overlap to the "over-mediated" nature of how the West interprets the face of the Other. This face is a site of projection for Western anxieties, guilt, and fear: a fear that implies having always-already called for State protection. Through a reading of Emmanuel Levinas and Édouard Glissant, abreu suggests strategies of opacity to resist the "violence of the metaphor" of the face. 

The protagonist of this short story by Stewart Home trusts no one. Flush with capital from his cryptocurrency investments, he is finance-obsessed and disinterested in humanity. The story takes place only a few years from the present, but cryptofinance has already gone through many stages of evolution. The main character has used his crypto-winnings to buy a penthouse apartment in a behemoth London development called The Denizen. Home’s London has fallen under the shadow of such real estate projects, and his protagonist is the poster child for the dehumanization of rampant profit-making dependent on nothing but capital to create capital. When he suffers an accident and his finances tank, the unnamed investor takes vengeance.

Artists and other cultural practitioners are welcome to submit their projects through an open submission system that has a running deadline.

The jury is pleased to announce the the selected residency project.

With their ongoing research and documentary film project Good Life, the collabortive duo Viktorija Šiaulytė and Marta Dauliūtė undertake an investigation into the narrative of innovation and flexibility, its social and political implications.

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Marta Dauliūtė is co-founder and owner of MDEMC, film production company, together with film director and producer Elisabeth Marjanovic Cronvall.

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Viktorija Šiaulytė is independent curator and producer working in the fields of contemporary art, architecture and film.

For the upcoming edition of Polymorphism Moscow-based Gost Zvuk presents Russia's musical diversity.

On 6 April CTM's Technosphärenklänge invites you into a world of tonal fiction that makes post-digital connectivity tangible.

The Forum Romanum was the inspiration for the installation in the foyer of the House of the World Cultures for transmediale/conversationpiece.

The visual concept of transmediale 2017 ever elusive  addressed Snapchat’s distribution and media format “Story,” and at the same time attempts to capture the ever elusive aspect of fleetingness in images and videos.

What is the best way to assemble meaning out of the mass of information available today? How can data be converted reliably into something like truth, when simply identifying misinformation can seem a Herculean task? Truth has come to mean different things according to different beliefs and agendas—for some, truth is what is most readily available on the surface, while for others, truth lies deep beneath all the numbers and opinions and must be laboriously unearthed. In this essay, Faisal Devji calls this condition “the simultaneous desire for and disenchantment with a life on the surface.” Devji argues that if the surface could be converted from the supposed site of visibility into “an arena for play and illusion,” new and more powerful kinds of meaning might be produced. Esotericism and skepticism, he says, could reinstate mystery in meaning, rather than the fetishization of either visibility or revelation.

The research/PhD workshop RESEARCH VALUES contributed to the transmediale festival program of 2018, which took place under the title of face value, which aimed to take stock of current affairs, to recognize things for what they are before saying how they could be different.

Beginning with the figure of Roko’s Basilisk, a hypothetical vengeful future AI that emerged in online forums, Ana Teixeira Pinto launches her analysis of the psychological state engendered by online interaction that has led to a seemingly paradoxical set of views: totally paranoid yet ironically detached. Feelings of disenfranchisement coupled with the seeming omnipotence afforded by the internet, she suggests, have found symbolic form in apocalyptic fantasies. These delusions of quasi-magical and hyperstitious nature have coalesced into an ideology that is as religious as it is logical, despite its proponents’ insistence on the primacy of deductive reason. Faced with a series of double binds, she says, certain demographics will end up promoting “violence and sociopathy” in response to their own powerlessness, despite the information age’s promise of unbounded individual power. 

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