Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 936 of 950 bytes [CORE/cake/libs/cache/file.php, line 190]
Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 474 of 960 bytes [CORE/cake/libs/cache/file.php, line 190]
Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 3390 of 6792 bytes [CORE/cake/libs/cache/file.php, line 190]
Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 23074 of 46160 bytes [CORE/cake/libs/cache/file.php, line 190]
Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 725 of 1462 bytes [CORE/cake/libs/cache/file.php, line 190]
Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 1015 of 2042 bytes [CORE/cake/libs/cache/file.php, line 190]
Warning (2): unserialize() [function.unserialize]: Extra data starting at offset 3521 of 7054 bytes [CORE/cake/libs/cache/file.php, line 190]
diaphanes

Nutzerkonto

Ben Grosser, Geert Lovink: Platform Resistance in the Age of Platform Capital
Platform Resistance in the Age of Platform Capital
(S. 251 – 272)
pgratis

Ben Grosser, Geert Lovink

Platform Resistance in the Age of Platform Capital
A Dialogue

PDF, 22 Seiten, 0.0 MB

  • Rhetorik
  • Politik
  • Global South
  • Gegenwartskunst
  • Globale Ökologie
  • Widerstand
  • Künstlerische Praxis

Meine Sprache
Deutsch

Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch

Ändern

Ben Grosser

Ben Grosser creates interactive experiences, machines, and systems that examine the cultural, social, and political effects of software. Recent exhibition venues include the Barbican Centre in London, Museum Kesselhaus in Berlin, Museu das Comunicações in Lisbon, and Galerie Charlot in Paris. His works have been featured in The New Yorker, Wired, The Atlantic, The Guardian, The Washington Post, The Telegraph, El País, Libération, and Der Spiegel. The Chicago Tribune called him the “unrivaled king of ominous gibberish.” Slate referred to his work as “creative civil disobedience in the digital age.” Grosser’s artworks are regularly cited in books investigating the cultural effects of technology, including The Age of Surveillance Capitalism, The Metainterface, Critical Code Studies, and Technologies of Vision, as well as volumes centered on computational art practices such as Electronic Literature, The New Aesthetic and Art, and Digital Art. Grosser is an associate professor of new media and studio art in the School of Art + Design, co-founder of the Critical Technology Studies Lab at the National Center for Supercomputing Applications, and an affiliate faculty member with the Unit for Criticism and Interpretive Theory and the School of Information Sciences, all at the University of Illinois at Urbana-Champaign, USA.

Geert Lovink

ist niederländisch-australischer Medientheoretiker und Netzkritiker, Leiter des Instituts für Netzkultur an der Hogeschool van Amsterdam und Associate Professor für Media Studies an der Universität Amsterdam. Er organisierte u.a. Konferenzen zu Suchmaschinen, Wikipediaforschung und Onlinevideo.

Weitere Texte von Geert Lovink bei DIAPHANES
Sara Alonso Gómez (Hg.), Isabel J. Piniella Grillet (Hg.), ...: NO Rhetoric(s)
b€ 35,00

Sara Alonso Gómez (Hg.), Isabel J. Piniella Grillet (Hg.), Nadia Radwan (Hg.), Elena Rosauro (Hg.)

NO Rhetoric(s)
Versions and Subversions of Resistance in Contemporary Global Art

Broschur, 328 Seiten

PDF, 328 Seiten, 0.0 MB

This volume maps some of the territories where points of resistance can be located and where art’s resistant potential becomes relevant once again. "NO Rhetoric(s): Versions and Subversions of Resistance in Contemporary Global Art" focuses on a neuralgic issue which was intensely debated during the last three decades, but has rarely become a topic of its own. It offers an updated way which art presents itself as an agent of resistance, whether in a mere rhetorical stance or as an effective critical strategy. In the face of general discourse of revolt and insurrection that is highly fashionable today, it is necessary to ask whether the gesture of ‘negation’ still yields an emancipatory potential. Struggling between NO rhetoric and NO to rhetoric, the artistic and the political field permanently interfere with each other; sometimes they merely overlap, while at other moments they strongly insist on demarcating themselves. Nonetheless it remains to be seen more precisely of what their respective critical forces and agonality consist. In this sense, the book contributes to a deeper understanding of the different logics of resistance at play between art and the political, as expressed by Jacques Rancière in his distinction between “the politics of the becoming-life of art and the politics of the resistant form.”

 

This volume provides a diverse array of voices and essays from the academic and artistic field that present theoretical approaches as well as study cases. By juxtaposing them, it encompasses both the complexity and diversity of artistic practices within a global instituting framework that seems to capitalize on different political streams. The reader will find contributions on sexual dissidence, ecology and the Anthropocene, geopolitics of the digital age and institutional critique. The authors, artists and scholars from different disciplines share their desire to shed some light on how art approaches these urgent issues.

 

Contributors: Sara Alonso Gómez, Mieke Bal, Zach Blas, Katharina Brandl, Nancy Garín, Kendell Geers, Ben Grosser and Geert Lovink, Gelare Khoshgozaran, Federico Luisetti, Charlotte Matter, Isabel J. Piniella Grillet, Nadia Radwan, Fiona Siegenthaler, David Tenorio, and Jaime Vindel.

Inhalt