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A critical mapping of the multiplicities of Finnish artist and technology pioneer Erkki Kurenniemi—composer of electronic music, experimental filmmaker, inventor, collector, futurologist. Over the past forty years, Finnish artist and technology pioneer Erkki Kurenniemi (b. 1941) has been a composer of electronic music, experimental filmmaker, computer animator, roboticist, inventor, and futurologist. Kurenniemi is a hybrid—a scientist-humanist-artist. Relatively unknown outside Nordic countries until his 2012 Documenta 13 exhibition, ”In 2048,” Kurenniemi may at last be achieving international recognition. This book offers an excavation, a critical mapping, and an elaboration of Kurenniemi's multiplicities. The contributors describe Kurenniemi's enthusiastic, and rather obsessive, recording of everyday life and how this archiving was part of his process; his exploratory artistic practice, with productive failure an inherent part of his method; his relationship to scientific and technological developments in media culture; and his work in electronic and digital music, including his development of automated composition systems and his “video-organ,” DIMI-O. A “Visual Archive,” a section of interviews with the artist, and a selection of his original writings (translated and published for the first time) further document Kurenniemi's achievements. But the book is not just about one artist in his time; it is about emerging media arts, interfaces, and archival fever in creative practices, read through the lens of Kurenniemi.
A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 is the first publication to deal with the postwar avant-garde in the Nordic countries. The essays cover a wide range of avant-garde manifestations in arts and culture: literature, the visual arts, architecture and design, film, radio, television and the performative arts. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: The cultural politics, institutions and new cultural geographies after World War II, new technologies and media, performative strategies, interventions into everyday life and tensions between market and counterculture.
The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 brings the series of cultural histories of the avant-garde in the Nordic countries up to the present. It discusses revisions and continuations of historical practices since 1975.
When media translate the world to the world: twentieth-century utopian projects including Edward Steichen's “Family of Man,” Jacques Cousteau's underwater films, and Buckminster Fuller's geoscope. Postwar artists and architects have used photography, film, and other media to imagine and record the world as a wonder of collaborative entanglement—to translate the world for the world. In this book, Janine Marchessault examines a series of utopian media events that opened up and expanded the cosmos, creating ecstatic collective experiences for spectators and participants. Marchessault shows that Edward Steichen’s 1955 “Family of Man” photography exhibition, for example, and Jacques Cousteau’s 1956 underwater film Le monde du silence (The Silent World) both gave viewers a sense of the earth as a shared ecology. The Festival of Britain (1951)—in particular its Telekinema (a combination of 3D film and television) and its Live Architecture exhibition—along with Expo 67’s cinema experiments and media city created an awareness of multiple worlds. Toronto’s alternative microcinema CineCycle, Agnès Varda’s 2000 film Les glaneurs et la glaneuse, and Buckminster Fuller’s World Game (geoscope), representing ecologies of images and resources, encouraged planetary thinking. The transspecies communication platform the Dolphin Embassy, devised by the Ant Farm architecture collaborative, extends this planetary perspective toward other species; and Finnish artist Erkki Kurenniemi’s “Death of the Planet” projects a postanthropocentric future. Drawing on sources that range from the Scottish town planner Patrick Geddes to the French phenomenologist Maurice Merleau-Ponty, Marchessault argues that each of these media experiments represents an engagement with connectivity and collectivity through media that will help us imagine a new form of global humanism.
How digital technology--from Facebook tributes to QR codes on headstones--is changing our relationship to death. Facebook is the biggest cemetery in the world, with countless acres of cyberspace occupied by snapshots, videos, thoughts, and memories of people who have shared their last status updates. Modern society usually hides death from sight, as if it were a character flaw and not an ineluctable fact. But on Facebook and elsewhere on the internet, we can't avoid death; digital ghosts--electronic traces of the dead--appear at our click or touch. On the Internet at least, death has once again become a topic for public discourse. In Online Afterlives, Davide Sisto considers how digital technology is changing our relationship to death.
We live in a pop age gone loco for retro and crazy for commemoration. But what happens when we run out of past? Are we heading toward a sort of cultural-ecological catastrophe, where the archival stream of pop history has been exhausted? Simon Reynolds argues that we have indeed reached a tipping point.
“France's most famous unknown artist,” the innovative media provocateur Fred Forest, precursor of Eduardo Kac, Jodi, the Yes Men, RT Mark, and the Guerilla Girls. The innovative French media artist and prankster-provocateur Fred Forest first gained notoriety in 1972 when he inserted a small blank space in Le Monde, called it 150 cm2 of Newspaper (150 cm2 de papier journal), and invited readers to fill in the space with their own work and mail their efforts to him. In 1977, he satirized speculation in both the art and real estate markets by offering the first parcel of officially registered “artistic square meters” of undeveloped rural land for sale at an art auction. Although praised by leading media theorists—Vilém Flusser lauded Forest as “the artist who pokes holes in media”—Forest's work has been largely ignored by the canon-making authorities. Forest calls himself “France's most famous unknown artist.” In this book, Michael Leruth offers the first book-length consideration of this iconoclastic artist, examining Forest's work from the 1960s to the present. Leruth shows that Forest chooses alternative platforms (newspapers, mock commercial ventures, video-based interactive social interventions, media hacks and hybrids, and, more recently, the Internet) that are outside the exclusive precincts of the art world. A fierce critic of the French contemporary art establishment, Forest famously sued the Centre Pompidou in 1994 over its opaque acquisition practices. After making foundational contributions to Sociological Art in the 1970s and the Aesthetics of Communication in the 1980s, the pioneering Forest saw the Internet as another way for artists to bypass the art establishment in the 1990s. Arguing that there is a strong utopian quality in Forest's work, Leruth sees this utopianism not as naive or conventional but as a reverse utopianism: rather than envisioning an impossible ideal, Forest reenvisions and probes the quasi-utopia of our media-augented everyday reality. The interface is the symbolic threshold to be crossed with an open mind.
The evidential role of matter—when media records trace evidence of violence—explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere. In this book, Susan Schuppli introduces a new operative concept: material witness, an exploration of the evidential role of matter as both registering external events and exposing the practices and procedures that enable matter to bear witness. Organized in the format of a trial, Material Witness moves through a series of cases that provide insight into the ways in which materials become contested agents of dispute around which stake holders gather. These cases include an extraordinary videotape documenting the massacre at Izbica, Kosovo, used as war crimes evidence against Slobodan Milošević; the telephonic transmission of an iconic photograph of a South Vietnamese girl fleeing an accidental napalm attack; radioactive contamination discovered in Canada's coastal waters five years after the accident at Fukushima Daiichi; and the ecological media or “disaster film” produced by the Deep Water Horizon oil spill in the Gulf of Mexico. Each highlights the degree to which a rearrangement of matter exposes the contingency of witnessing, raising questions about what can be known in relationship to that which is seen or sensed, about who or what is able to bestow meaning onto things, and about whose stories will be heeded or dismissed. An artist-researcher, Schuppli offers an analysis that merges her creative sensibility with a forensic imagination rich in technical detail. Her goal is to relink the material world and its affordances with the aesthetic, the juridical, and the political.
A generously illustrated examination of the boom in luxurious, resort-style scientific laboratories and how this affects scientists' work. The past decade has seen an extraordinary laboratory-building boom. This new crop of laboratories features spectacular architecture and resort-like amenities. The buildings sprawl luxuriously on verdant campuses or sit sleekly in expensive urban neighborhoods. Designed to attract venture capital, generous philanthropy, and star scientists, these laboratories are meant to create the ideal conditions for scientific discovery. Yet there is little empirical evidence that shows if they do. Laboratory Lifestyles examines this new species of scientific laboratory from architectural, economic, social, and scientific perspectives. Generously illustrated with photographs of laboratories and scientists at work in them, the book investigates how “lifestyle science” affects actual science. Are scientists working when they stretch in a yoga class, play volleyball in the company tournament, chat in an on-site café, or show off their facilities to visiting pharmaceutical executives? The book describes, among other things, the role of beanbag chairs in the construction of science at Xerox PARC; the Southern California vibe of the RAND Corporation (Malibu), General Atomic (La Jolla), and Hughes Research Laboratories (Malibu); and Biosphere 2's “bionauts” as both scientists and scientific subjects; and interstellar laboratories. Laboratory Lifestyles (the title is an allusion to Bruno Latour and Steve Woolgar's influential Laboratory Life) documents a shift in what constitutes scientific practice; these laboratories and their lifestyles are as experimental as the science they cultivate. Contributors Kathleen Brandt, Russell Hughes, Tim Ivison, Sandra Kaji-O'Grady, Stuart W. Leslie, Brian Lonsway, Sean O'Halloran, Simon Sadler, Chris L. Smith, Nicole Sully, Ksenia Tatarchenko, William Taylor, Julia Tcharfas, Albena Yaneva, Stelios Zavos
Made in Finland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, culture, and musicology of twentieth and twenty-first century popular music in Finland. The volume consists of essays by leading scholars in the field, and covers the major figures, styles, and social contexts of popular music in Finland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book is organized into five thematic sections: Emerging Foundations of Popular Music in Finland; Environments, Borderlines, Minorities; Transnationalisms; Sounds from the Underground; and Redefining Finnishness.