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.
Dieter Daniels traces the historical trajectories leading to transmediale’s contemporary configuration, which continues to resist definition
Physical encounters with digital culture “will neither be replaced by so-called social media nor by post-internet art,” argues Dieter Daniels in this essay written on the occasion of transmediale’s thirtieth anniversary. He dives all the way back to the 1960s to explain why a festival format—one which resists formalization—is still relevant.
David Blair’s 1993 Wax, or the Discovery of Televisionamong the Bees was the first independent film to be edited using a non-linear editing system, the first film to be translated into an interactive and hypertextual online experience (Waxweb, 1993), and the first film to be streamed over a computer network. In its many incarnations, Wax tells the surreal story of Jacob Maker, a programmer of weapon and flight simulators who keeps a special Mesopotamian breed of bees.
"Media art" might sound like an outdated term, but Elvia Wilk argues that its persistence is a good omen
Unearthing a decade-old panel discussion from the transmediale archive suggests that discourse about digital culture might not change as fast as we think—which, transmediale editor Elvia Wilk argues here, is a good omen. This post is the first in an ongoing series revisiting and reviving discussions, events, and media from the recently digitized, 30-year transmediale archive.
On December 7, 2016, transmediale celebrated the launch of its new publication at the Institute for Contemporary Arts in London. The book is a reader on the changing (and often contentious) concept of the post-digital within arts and culture, with a focus on the term's institutional framing. Published here is the introductory essay to the book, co-written by three of its editors, which outlines the concept and the content.
“Maker culture” is not one thing. As Teresa Dillon describes in this reflection on the Anxious to Make stream she curated at transmediale 2016, the multitude of practices that make up the world of making are what make it impossible to summarize. The events of her stream focused on crossover and common ground as well as contradiction, rather than a “bottom line” answer to what it means to be a maker today.