[ecrea] Symposium: Imag(in)ing Technologies

  Imaging Technologies (with Patricia Pisters, Siegfried Zielinski,
  Matthias Bruhn).

A one-day symposium on image technologies and imaging practices with
Patricia Pisters (University of Amsterdam) Siegfried Zielinski (European
Graduate School, Saas-Fee) and Matthias Bruhn (Humboldt University, Berlin).


Time and place:Dec 3, 2015 10:15 AM - 04:00 PM, Helga Engs hus,
Auditorium 3, UiO. <http://www.uio.no/om/finn-fram/omrader/blindern/bl20/>

To an increasing extent, imaging technologies are integral to the ways
we understand our situation, position and roles in society. This
situation is mediated, constituted and upheld through technological
images. In our image-obsessed and image-dependent culture, socializing
practices are facilitated and quasi-automatized through imaging
processes. Analyzing imaging technologies in a range of social
situations of cultural and political significance, this symposium aims
to create a productive distance, to open up a space for culture to look
at itself looking – to image and imagine.


    Program

10:00: Liv Hausken introduces the symposium.
10:15: Introduction of Patricia Pisters.
10:20: Patricia Pisters: "Follow the Metal: Mines, Media and Minds".
11:50: Lunch.
13:00: Introduction of Matthias Bruhn.
13:05: Matthias Bruhn: "Piction - Images as Objects of Operation".
14:35: Coffee break.
14:55 Introduction of Siegfried Zielinski.
15:00: Siegfried Zielinski: "On Deep Time of Techno-Imagination. Past &
Future Connected as Potential Spaces".
*The symposium ends around 16:40.*


    Presenters

Patricia Pisters <http://www.patriciapisters.com/> is professor of film
studies at the Department of Media Studies <http://mediastudies.nl/>of
the University of Amsterdam and director of the Amsterdam School of
Cultural Analysis <http://asca.uva.nl/>(ASCA). She is one of the
founding editors of Necsus: European Journal of Media Studies
<http://www.necsus-ejms.org/>. She is programme director of the research
group Neuraesthetics and Neurocultures
<http://asca.uva.nl/phd/training-programme/asca/neuroaesthetics.html>and
co-director (with Josef Fruchtl) of the research group Film and
Philosophy. Publications include The Matrix of Visual Culture: Working
with Deleuze in Film Theory (Stanford University Press, 2003); Mind the
Screen(ed. with Jaap Kooijman and Wanda Strauven, Amsterdam University
Press, 2008) and  The Neuro-Image: A Deleuzian Film-Philosophy of
Digital Screen Culture (Stanford University Press, 2012). Her latest
book Filming for the Future is on the work of documentary filmmaker
Louis van Gasteren (Amsterdam University Press, 2015). For articles, her
blog and other information see also www.patriciapisters.com
<http://www.patriciapisters.com>.


Matthias Bruhn
<https://www.interdisciplinary-laboratory.hu-berlin.de/en/people/matthias-bruhn> 
(Ph.
D., Hamburg 1997) is an art historian and research associate at Humboldt
University Berlin where he directs the research group /The Technical
Image/ <http://www.kulturtechnik.hu-berlin.de/content/dtb>, and a
principal investigator and steering committee member of the Cluster of
Excellence/Image Knowledge Gestaltung – An Interdisciplinary
Laboratory/ that aims at a comparative analysis of design processes in
the humanities and the sciences. His main fields of interest are the
‘art history of science’, i.e. the contribution of artistic and
aesthetic pratices to the production of knowledge; changing concepts of
the image in relation to the evolution of modern media; and the role of
imagery in the context of political iconology. He is the editor, with
Claudia Blümle and Horst Bredekamp, of the bi-annual book series
/Bildwelten des Wissens/ established in 2003.


Siegfried Zielinski <http://www.egs.edu/faculty/siegfried-zielinski> is
a professor of mediology and technoculture at the /European Graduate
School/ <http://www.egs.edu/> in Saas-Fee, Switzerland. He is also the
Chair of Media Theory – with a focus on Archaeology and Variantology of
Media – in the Institute for Time Based Media at the Berlin University
of Arts
<http://www.udk-berlin.de/sites/content/topics/home/index_eng.html>. He
has recently been appointed rector ofKarslruhe University of Arts and
Design <https://www.hfg-karlsruhe.de/>. Zielinski has published more
than a dozen books and far over 150 essays, primarily in the areas of
media history and theory. His most recent monographic book is published
in 2014, in both English and German, titled/Over the Head – Projecting
Archaeology & Variantology of Arts & Media. /Other recent publications
include /Deep Time of the Media – Towards an Archaeology of Hearing and
Seeing by Technical Means/, which was published by MIT Press (Cambridge
MA, 2006), and from 2007 to 2008 he worked on a five volume book series
on Variantology – Deep Time Relations of Arts, Sciences and
Technologies. Amongst others, Siegfried Zielinski was elected a member
of the European Film Academy (EFA), the Berlin-Brandenburg Academy of
Arts (Akademie der Künste), and the Magic Lantern Society of Great Britain.


    Abstracts


      /Follow the Metal: Mines, Media and Minds./

/Patricia Pisters/

Abstract:

At the beginning of Wim Wenders’s documentary film The Salt of the Earth
(2014) photographer Sebastiao Salgado, describes how at the border of
the immense human anthill of the Serra Pelada gold mine in the 1980s, he
saw in a flash the entire history of humanity: the construction of the
pyramids, the tower of Babel, the gold mines of King Solomon. Salgado’s
famous photos of the Serra  Pelada are the starting point of my
presentation in which I’ll try to ‘follow the metal’ and connect our
technological imag(in)ing to the metallic materiality of our
contemporary media culture. This presentation is part of a larger
project on the filmmaker as metallurgists that bend and shape our
collective consciousness by mining the archives of our audio-visual
past.  Filmmakers, however, are not just smiths of sorts in a metaphoric
way. I will look at the geological dimensions of our media culture by
following a nugget of gold, a piece of silver and other metals in their
metallurgic transformations into material forms, images and stories that
construct our world.


      Piction – Images as Objects of Operation

Matthias Bruhn

Abstract:

“Image Guidance” is a recent concept to describe the active role of
imaging technologies in combination with other instruments of operation.
A widespread example is screen-based devices employed in operation
theaters that are directly connected with surgical or radiological
tools, often enhanced by further virtual and augmented reality
applications. Due to the increased role of imaging as a means of
diagnosis and therapy, this short-circuiting of technologies leads to an
almost inseparable fusion of information – here referred to as
/piction/ – with direct effects on the users’ navigation and
interventions, in particular under the real-time conditions of clinical
practice. Since this fundamental change involves a large variety of
disciplines and practices in respect to epistemological, medical,
computational, practical and aesthetic aspects (currently under
investigation by a specialized research group in Berlin), the paper
takes a step back in order to dissect these different layers and to
discuss the possible contribution of fields such as art history or media
aesthetic.


      On Deep Time of Techno-Imagination. Past & Future Connected as
      Potential Spaces


      Siegfried Zielinski

      Abstract:

      In Order to secure a rich future for creation by and through
      technical means, it is very necessary that we allow the objects of
      our desire as researchers a past that is at least just as rich and
      multifarious as we hope the future will be. Methodologically I
      would go even further: It is logical to couple the desired
      diversity and heterogeneity that marches with the arrow of time
      pointing forward with the confusing multiplicities of past and
      submerged present-days. An Archaeology and Variantology of media,
      in the way that I practise it, is basically a special type of game
      with potentialities, with space of possibility. Just as we are
      little inclined to accept a future that is pre-programmed
      technologically, we are not in agreement with historians or
      physicists who see history as a collection of given columns of
      facts that must be ploughed through in a linear fashion.


      *NOTE: The conference is open to all interested, but
      participation requires registration and payment. Payment and
      registration extended until November 30th. The conference fee of
      NOK 100 covers lunch and beverages.*


      Payment and registration

<https://epay.uio.no/pay/shop/order-create.html?projectStepId=5203375>:
      https://epay.uio.no/pay/shop/order-create.html?projectStepId=5203375


The Symposium is hosted by Media Aesthetics, UiO, Department of Media
and Communication
http://www.hf.uio.no/imk/english/research/researchareas/media-aesthetics/ <http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.hf.uio.no%2Fimk%2Fenglish%2Fresearch%2Fresearchareas%2Fmedia-aesthetics%2F&h=SAQFIboGV&enc=AZPWbCUrieVwlyFEgtpdDMDNLlgLbeK0KivnE32SwXmxk_VB2pibHJLQHAXRFsyfzrM&s=1>


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